Podcast Highlights

Piano Inspires Podcast: Pete Jutras

Written By Pete Jutras, Jennifer Snow

To celebrate the latest episode of the Piano Inspires Podcast featuring Pete Jutras, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Jutras? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Jutras on Apple Podcasts, Spotify, YouTube, or our website!

Pete Jutras.

Jennifer Snow: How did [working for] the [Piano] Magazine inform you? Like that experience of expanded community, how did that change the way you perceived what you were going to do yourself, personally? All of a sudden, your exposure broadens dramatically.

Pete Jutras: Yeah, that’s an interesting question. I’m not sure I ever thought about it that way. One of the principles that was always very important to me as editor was to present a real range of ideas. I never thought the [Piano] Magazine would be any good if it was Pete’s ideas. That’s not what a magazine should be. You know, it should be the world’s ideas. And so I tried very hard to, you know, even when there were things I might have raised my eyebrows at or said, “Well, I wouldn’t really teach it that way,” I still always wanted to run that content. There’s always value in any idea, and I think the dialectic process of comparing ideas is also really valuable. 

So I would say it just had a huge influence in cluing me into all the different things that were happening out there, all the different ways people were thinking and approaching teaching and studios. You know, new ideas, old ideas, different approaches. It was really valuable to have a front row seat for all of that and, you know, just see what the world was thinking.

JS: What a legacy you created also for yourself in that leadership role, because you influenced the entire field. You helped to advance and mentor a lot of people’s ideas forward because you took that attitude of ‘everybody’s voice needs to be heard.’ We need to build community, again, coming back to building community.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Pete Jutras on Apple Podcasts, Spotify, YouTube, or our website!

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How Do You Teach Polyrhythms?
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Piano Inspires Podcast: Catherine Rollin

Written By Catherine Rollin, Pamela Pike

To celebrate the latest episode of the Piano Inspires Podcast featuring Catherine Rollin, we are sharing an excerpted transcript of her conversation with Pamela Pike. Want to learn more about Rollin? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Rollin on Apple Podcasts, Spotify, YouTube, or our website!

Catherine Rollin
Catherine Rollin.

Pamela Pike: How do you feel your work is having an impact in the world? You are fortunate. You hear from teachers all the time. You hear about these positive stories. Are there any you might want to share with us?

Catherine Rollin: I can tell you a very recent experience. Now that I have an active website, I have all these hard copy books. I’m also doing some digital downloads. So it’s been very, very rewarding to just get orders—I mean, obviously it’s nice to get orders for your music. But even more than the order is getting letters from people around the world, because people around the world are mainly reaching out for getting digital, because it’s so hard and so expensive to mail things. 

One lady who had contacted me during the pandemic time [is] in Ukraine, and she had already used a lot of my music before the war started. She was sending me student performances and many times students were—I don’t think they had even the comfort or freedom to even meet in one place for [a] recital—playing in their own house and then sending them in. 

She sent me a lot of things, but the nicest thing was that she contacted me and she went on my website, and she got all my new music, all these digital downloads, which was really wonderful, and then she wrote [to] me. She said, “This is gonna be the next recital, but we’re giving a recital of your Museum Masterpieces, Books A and B. Would you be so kind to just say hello to each student? I’ll give you the names of the pieces they’re playing. [Could you] just say hello or some little message to the student?” 

So there were about 30 students performing. I felt embarrassed because I don’t think I pronounced their names very well, but that was very meaningful to me.

PP: And it must have been for the students because they now have a connection with a real, living composer.

CR: Yes. I can’t even tell you because I felt like things were really hard in the country, and I felt like, if this is giving the kids some spirit—my music—what can I say other than it just made me feel like I was doing what I hope music is always doing, but it seemed especially special under their kind of dire circumstances. They just started sending me, before I left for here, all the tapes that they had made because I gave it as a pre-message. And so I haven’t had a chance to listen to all of them. I only listened to one, but it was outstanding. 

PP: Well, that’s wonderful that that’s still happening. You know, those children need music in their lives now.

CR: Yeah, right. So in that regard, I mean, anytime I feel that I’ve reached somebody who loves a piece and that means that they love music, I always feel gratified. But that one was especially moving to know that they carried on into this recital, you know, and and all that in these circumstances. So it was great.

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Catherine Rollin
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Piano Inspires Podcast: Sean Chen

Written By Sean Chen, Sara Ernst

To celebrate the latest episode of the Piano Inspires Podcast featuring Sean Chen, we are sharing an excerpted transcript of his conversation with Sara Ernst. Want to learn more about Chen? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Chen on Apple Podcasts, Spotify, YouTube, or our website!

Sean Chen.
Sean Chen.

Sara Ernst: I want to ask about you as a teacher, you know, because that’s a different process when you have another person where you’re helping them to discover [how to express their ideas] and find that, and explore that. So how has that been for you as an instructor?

Sean Chen: It’s a very interesting experiment and experience for me, because I’m always trying to think, “Okay, am I doing the right approach for this student?” I have a default approach I like to do. You know, I’m very logical. I like to talk about form, talk about articulations, which reflects my teachers. It also depends on the kind of piece, because if it’s something— I think French pieces just draw the [Jerome] Lowenthal out from me. So I go into, like, more the spirit of music making and, you know, the imagination, but sometimes I have to remind myself to, you know, take a step back and be like, “Hey, is this working? Do I need to try a different approach for this student? I’m still relatively young and I think I still have a lot of room to grow in terms of being able to more efficiently pinpoint, like, “Oh, this student needs me to be maybe even more strict about not letting them get away with stuff.” Whereas some other students I know, “Okay, they’ll fix it next time.” I don’t like people being too pushy with me. I’m like, “I’ll get it, you know, I’ll work on it. I’ll get it. I remember what you say.” But not everyone’s like that. Some people want to be a little bit more strictly guided. 

SE: It makes me think back to your teacher who put the dates in your score. Right?

SC: Yeah! For example, I even, as a student, didn’t really write stuff in my score. Sometimes my teacher, Lowenthal, didn’t really write too much stuff. Matti [Raekellio] wrote a lot of stuff. There’s big circles and lines and big all caps.

SE: And then you open the book and just think fondly of your teacher when you see all those things.

SC: Yeah! So sometimes, again, I have to remember myself like, “Oh, I should go write it in their score because if they’re not writing it, I have to first be like, “Okay, are they going to remember it based on my experience of teaching them?” Because I know I don’t like to write stuff in my score, but maybe they need to. So it’s stuff like that. That’s very, very “psychology of teaching.” It’s not so much like are you a good pianist? It’s like, are you good at understanding people.

SE: Oh no it’s very true, right? It’s interesting how that can even change through the course of working with a student where their needs will change over time, right?

SC: Definitely, yeah. I try to channel my teacher when I [was] growing up, trying to get them interested about repertoire. You know, “Hey, have you heard this composer? Have you heard these pieces?” Trying to get them to broaden their horizons because I think at least from what I see where I’m teaching, a lot of students just want to play the standard repertoire. Even amongst the standard repertoire, a very limited version of the standard repertoire. I’m like, “Have you considered—do you know any Szymanowski?” “No, who’s that?” I don’t know nearly enough that I, you know, I think about post-modern stuff. I appreciated it when my teachers asked me, “Oh, have you heard this piece?” And so I try to do that too. Some of them take, well, to it. Some of them bring things in and I’m like, “Oh, you too! You actually chose this piece. Good! Whereas others just bring the same Beethoven sonatas in. I’m like, “Okay, all right, fine. We’ll work on that. That’s great.”

SE: And then plant some seeds and see where they go.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Sean Chen on Apple Podcasts, Spotify, YouTube, or our website!

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More Than Just the Notes: An Interview with Sean Chen
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Piano Inspires Podcast: Midori Koga

Written By Midori Koga, Andrea Mcalister

To celebrate the latest episode of the Piano Inspires Podcast featuring Midori Koga, we are sharing an excerpted transcript of her conversation with Andrea McAlister. Want to learn more about Koga? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Koga on Apple Podcasts, Spotify, YouTube, or our website!

Midori Koga.
Midori Koga.

Andrea McAlister: How do you maintain—I’m not even going to say balance because I don’t know that we can say in a balance—how do you maintain that motivation, inspiration, that keeps that passion going in yourself so that you can model that for others?

Midori Koga: It’s a really great question, and I’d love to ask you, too. [laughs] One of my great privileges is playing with my trio. I’m with a soprano and a clarinetist, and the three of us started playing together about 12 years ago. We live in different cities. Kim lives in Texas, and Lindsay lives in North Carolina, and I live in Toronto. And we happened to come together. Each one of us kind of knew the other one, and then we came together and did a couple of concerts, and there was a synergy as people, as three mothers and three women, working women, and as musicians. 

We play, we commission new works.The piano/soprano/clarinet combination is a little unusual, so we have been writing grants and commissioning works, and working with kind of a family of living composers. We keep going back to them, and they’re dear friends. We keep going back to these composers, I think because they tell stories of life and joys and gratitude and sometimes life and death, and a lot of parenting.

One piece that we just commissioned, is by Ivette Herryman Rodriguez, and she’s a woman from Cuba and is living in the States. We just sat together in a brainstorming session, and she said, “I would love to write a piece of music that somehow conveys this in-between. My home is Cuba, and my home is in the United States, but one foot in each place sometimes makes me feel like I’m in another world. And sometimes that’s special, and sometimes it’s lonely.” She expressed it so beautifully, and it’s something that I kind of responded to. I’m in Canada, I lived in the US, and I’m of Japanese heritage, and sometimes I feel, “Where do I belong?” In experiences like that where we talk as a trio, [we talk] a lot about what is our voice as a trio? What is our voice individually as musicians, and what is the voice of the composer and telling that story, and who are our audiences? 

Every time my students have said that they like it when I go away. Oh, I should think about why they’re saying that, but they like it. Let me see what they mean. [laughs] So they like it when I go away, because when I come back, you know, I have stories that I can share, and also I’m reminded again about the importance it is, “I know you’re stressed out, right?” They’re really feeling the pressure of upcoming recitals. It’s coming close to the year end, and you know, [I try] to help them remember that there’s a reason why you’re here. There’s a kernel of that passion and love and joy and a connection to the music that you’re playing and that you’re playing music of composers who have stories to tell, even as long ago composers. But now they’re playing more and more living composers, and I’m so glad to see that really blooming in recent years.

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Women in Higher Education
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Piano Inspires Podcast: Dennis Alexander

Written By Dennis Alexander, Jennifer Snow

To celebrate the latest episode of the Piano Inspires Podcast featuring Dennis Alexander, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Alexander? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Alexander on Apple Podcasts, Spotify, YouTube, or our website!

Dennis Alexander, pianist and pedagogical composer
Dennis Alexander.

Jennifer Snow: You work a lot with young people. One of the things I find so wonderful about your music [is] first beauty and [to] make the piano always sound so big and gorgeous. That beauty of sound [is] just so important, making beautiful sounds [and] expressing through sound. But also you make pieces that are from a sequential learning perspective very achievable. So as a young student, you can achieve. You sound like a pianist. Yes, you don’t sound like you’re just, “I’m learning piano.” You’re like, “I can perform this piece.” Is that something that is sort of the way your mind works? Is it something you’re very purposeful about when you’re thinking about levels and how the hand sizes and how the patterns go?

Dennis Alexander: Absolutely. When I first started writing for Alfred, my keyboard editors, Gayle Kowalchyk and E. L. Lancaster, developed a very, very comprehensive listing of traits that needed to be within each level. I tried to adhere to that as much as possible. Writing at the elementary or late-elementary level is much more challenging for me as a composer than writing at the intermediate level, where you have so much more leeway and options to choose from for things to do. Finding ways to write elementary pieces that are interesting, fun, and creative pieces that kids want to practice—like to practice—is very, very challenging. 

And in fact, whenever I sometimes get asked by budding composers out there, they’ll ask if I could possibly look at some things they’ve written and give them advice. I find that for most of them, they want to turn in materials for me to look at that are more advanced. And I’ll ask them, “Could you please write a couple of elementary pieces that have certain restrictions? No sixteenth notes, no even dotted quarter followed by an eighth note rhythm that covers a fairly wide range of the instrument, and show me what you can write that’s fun and interesting and somewhat novel. I’m amazed at how hard that is for lots of younger composers to do. But if they ever want to get their foot in the door from a compositional standpoint, writing for educational companies, they need to be able to come up with interesting, exciting things at that elementary level. 

JS: Yeah, the accessible level.

DA: The accessible level because first of all it’s what publishers sell the most. And you know, the sales go down at higher levels. I think a lot of young composers who are interested in a career doing this don’t understand that yet. 

JS: I also think it’s connected to your deep passion for teaching and also teacher education. You came to composition as an outgrowth of your love and passion for playing piano, teaching piano, and helping others teach better. And therefore your awareness and understanding of who you’re writing for. That’s probably something that many young composers haven’t thought through. Actually, if I spend time with the group of people I’m writing for, I’ll begin to understand better how they would respond or how they learn. 

DA: Yeah, they have to know how a child thinks. They need to know what works for the young hand or the small hand. So yeah, when I’m writing music at those levels, I think very, very hard about what feels good in the hand for the smaller hand. Or I try and write pieces that are so interesting from either a harmonic or rhythmic or melodic standpoint, that the child will want to practice it and grow from it. And I love it. For me, the nicest compliment I can get from a teacher is for them to tell me, “Your music works so well for my kids because it fits their hands, and it stays within the level.” You know, that’s another important thing.

JS: And it sounds beautiful. 

DA: And it makes them sound better than they are.

JS: It makes them sound big.

DA: I love it whenever I hear things like that.

JS: I think we need a course on piano pedagogy for composers. Really! I mean, when you think about it all, you get asked that question so frequently, yeah. So here I am recruiting you to do something else. [laugh]

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Dennis Alexander on Apple Podcasts, Spotify, YouTube, or our website!

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An Interview with Dennis Alexander
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Piano Inspires Podcast: Annie Jeng

Written By Annie Jeng, Craig Sale

To celebrate the latest episode of the Piano Inspires Podcast featuring Annie Jeng, we are sharing an excerpted transcript of her conversation with Craig Sale. Want to learn more about Jeng? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Jeng on Apple Podcasts, Spotify, YouTube, or our website!

Annie Jeng - A Seat at the Piano
Annie Jeng.

Annie Jeng: When I started the project [A Seat at the Piano], it was difficult because I was born in America, I’m Asian American, but I didn’t know if I was the right person to be doing this work, which sounds weird.

Craig Sale: Yeah, tell me about that.

AJ: Within the music and piano community, I don’t think I’m necessarily a minority. There’s a lot of students and pianists who are Asian, and I knew that I wanted to lift up the voices of a lot of my BIPOC peers and friends. I just wanted to make sure that I was doing it thoughtfully, that I wasn’t mishandling a lot of information, and [that I was] presenting it in a way that was respectful. 

I remember, actually, I called up Leah Claiborne when I started doing all of this. I was like, “I’m working on this project. Do you think this is okay? Am I an okay person to be doing [it]?” She’s like, “Well, yeah, I think this is important work.” And I mean, I’m not gonna try and quote her because this was many, many years ago, but just to have that comfort [that] this work needs to be done and this work needs to be shared. I think the fact that I was even thinking about that, hopefully, that by itself, was showing that I really do care about this, and I want it to be done in the right way. 

CS: Yeah. With this subject and when you’re dealing with issues of diversity and trying to bring people in who haven’t been invited in, it’s important to recognize them, give them their own space in place. And it sounds like you didn’t want [to], you were afraid of perhaps intruding on that a bit.

AJ: Yeah.

CS: All I can say is, you know, all one can do is, first of all, embrace the cause because it’s that’s pure and good, but then seek help and advice. You did that when you reached out to Leah, and then you have these other people that joined you. I think that takes some of the pressure off when you have other voices around you. It’s an interesting situation to be in when you’re trying to do good, but you also don’t want to be offensive. 

AJ: Exactly. I think that what you just said is totally right. And it felt really good to not have to have all that pressure once I started to ask for advice and to ask for help and to build our team. Expanding the team was so wonderful because my team members also then brought in their perspectives and their thoughts and their expertise. Just within personalities, we were able to complement each other really well.

CS: And the end product is… Well, it’s not an end. It is continuing. 

AJ: Oh yeah, it’s forever going. [Laugh] I had someone today ask me, “Well, what about four-hand and duo music?” And I said, “Hopefully one day!”

CS: It’s right. When you’re uncovering a whole new world, it’s a whole new world, not just little pieces. There’s a lot to do there. But you know, I think that the result where you are now is just a tremendous asset for us, and it’s a big step forward in our profession, and it’s a wonderful resource.

AJ: Thank you, and it’s really inspiring to see that this is [a] lasting change. Yeah, we’ve gone over the fact that this is not a phase, this is here to stay, and it’s only going to get bigger and more impactful from here.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Annie Jeng on Apple Podcasts, Spotify, YouTube, or our website!

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Hidden Gems: Four Centuries of Piano Music by Women Composers
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Piano Inspires Podcast: Karen Walwyn

Written By Leah Claiborne, Karen Walwyn

To celebrate the latest episode of the Piano Inspires Podcast featuring Karen Walwyn, we are sharing an excerpted transcript of her conversation with Leah Claiborne. Want to learn more about Walwyn? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Walwyn on Apple Podcasts, Spotify, YouTube, or our website!

Karen Walwyn, pianist
Karen Walwyn.

Karen Walwyn: When I went to [the] University of Michigan, then I met Dr. Willis Patterson.

Leah Claiborne: So, yes. [Laugh] Karen and I, we would both agree Dr. Willis Patterson is our mentor.

KW: Yes.

LC: Biggest advocate, [the] person you call [and] sit down [with]. Just the most beautiful person, I believe, in our industry. For those who do not know Dr. Willis Patterson, could you give a quick synopsis of Dr. Patterson?

KW: I first met him actually because he did a Black Music Symposium in 1985. I was a master’s student still at University of Miami. When I got to go to the symposium, I got to go as a student participant. And while I was there, I actually played. The chair of the piano department heard me play, and he said, “You need to come here for your doctoral degree.” Moving forward, I did receive a full scholarship to enter the University of Michigan. Of course, you know, I was the accompanist for Our Own Thing Chorale with Dean Patterson. 

LC: I didn’t know that, wow. 

KW: Yeah! For years, we get in the car, ride over to the rehearsals, [and] chit chat. 

LC: In Jefferson Church. 

KW: Yeah. But one day he saw me in the hall, and he said, “Karen! Do you know any pieces by any African American composers?” And I wanted to slip under the floor because I felt so guilty. I feel like I’m supposed to have known. But none of my previous teachers were on that track because usually, the typical repertoire for competition is A, B and C, but not including African American literature. 

“No…?” He said, “Come here!” We went into his office, and he said, “Look around.” This entire wall, full of music and books and scores and records. [He] gave me the key so I [could] go in there and just study everything that was in his room. I spent years, I think, in his room. 

LC: That’s incredible. 

KW: Essentially, just going through stuff. And that’s when I said, “Why, I’ve got to do something here!” And then I came across Althea Waites’s album that had the Florence Price recording on it, and many other composers. So I said, “Okay, I’m going to do one of my doctoral lecture recitals on a composer.” I chose Adolphus Hailstork. And we got to have a lot of time interviewing him and learning his music. 

Of course, I was chosen to do his chamber work, a trio for piano, violin, and cello. The last movement was in 11/8. I [was] like, “Look, how am I supposed to count? It’s like an Allegro, 1-2-3-4-5-6-7-8-9-10-11, 1-2-3-4-5-6-7-8-9-10-11.” And he said, “No, no, no, no, no, no, no, no.” I said, “Why did you make this so hard anyway?” That’s how we clicked instantly. “No, it’s 12-12-123-12-12 // 12-12-123-12-12.” I was like, “Oh, okay! All right, I understand it.” We started developing a beautiful friendship. Once I completed my lecture recital, his piano sonata, which is hefty.

LC: Putting it lightly, yes.

KW: That was on one of my lecture recitals. Later on, after I finished my degree, I was lucky to become tenure-track inside the dance department, where I spent my two years accompanying ballet and [teaching] some of the music teaching subjects there. It was then that I won over $55,000 in grant money to record the two albums, Dark Fires.

LC: Beautiful.

KW: Of course, Adolphus Hailstork was on that, Alvin Singleton, Tania León, Ellis Marsalis, and David Baker. The list goes on. That’s all because Dean Patterson came out to me and said, “Come here!” [Laugh]

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Karen Walwyn on Apple Podcasts, Spotify, YouTube, or our website!

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This is What Diversity Sounds Like
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Piano Inspires Podcast: Tim Topham

Written By Tim Topham, Sara Ernst

To celebrate the latest episode of the Piano Inspires Podcast featuring Tim Topham, we are sharing an excerpted transcript of his conversation with Sara Ernst. Want to learn more about Topham? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Topham on Apple Podcasts, Spotify, YouTube, or our website!

Tim Topham, pianist and teacher
Tim Topham speaking at The Piano Conference: NCKP 2023.

Sara Ernst: What is inspiring to you about the kids today? Especially if you think [about] this holistic form of education, where you’re really trying to build a musician at the piano who’s really learning skills that they can take to a wide variety of contexts. What do you see from the kids that are learning in that way that makes you go, “Ah, yes, this is it”?

Tom Topham: I just like that kids aren’t letting us do boring stuff anymore. And this goes for classrooms as well. A classroom teacher can’t just teach the same curriculum every year like they may have done in the past. Be that good or bad. I mean, obviously it’s a good thing that they can’t do that anymore. The whole move towards more inquiry-based learning and giving students autonomy in what they’re doing—which we know from Self-Determination Theory—is a really powerful aspect of self motivation in education. The more that we can get them involved and help them achieve things that they want to do, the more that they’re going to have agency and power in the decision making and want to do those things. 

I like that kids these days want something different, want something more, and aren’t content with just the status quo or just, “Okay, teacher, tell me. I’ll just go through the standards. You know, we’ll start with Burgmüller, and then we’ll go to Clementi, and then we’ll go to some Beethoven.” I know for some teachers, that will be difficult, but I also hope that a lot of teachers will look at that—I won’t call it pushback, because it’s not necessarily pushback—but look at that questioning of students and see that they maybe want something different and more. Rather than go[ing], “I can’t teach you that.” or “what do I do?”, go, “All right, let’s try. Let’s see what we can do.” 

Teachers can get so much value from trying new things. For many years, for anything that I put out, I suggest, “Hey, I’ve had a great experience with this. Here’s something you can try, and here’s the reason why I believe it’s powerful in the pedagogical sense. Why don’t you give it a shot?” I just encourage teachers to try these new things because it’s fun, and it’s going to make them better teachers, and students are going to respond to it. 

Also these days, actually, students have always wanted to see their teachers as humans, as fallible humans. Back when we were at school, the schoolmaster was up on the raised platform, blackboards, and all that kind of stuff. It’s just not what we need or what students want anymore. And I think that’s good.

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What I’ve Learned from 150 Podcast Episodes… and Counting
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Piano Inspires Podcast: Spencer Myer

Written By Spencer Myer, Jennifer Snow

To celebrate the latest episode of the Piano Inspires Podcast featuring Spencer Myer, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Myer? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Myer on Apple Podcasts, Spotify, YouTube, or our website!

Spencer Myer, American pianist

Jennifer Snow: You’ve gone through all these amazing successes with competitions and started to understand yourself as an artist. That all starts to clue up for yourself. You’ve got a career, you’re performing, you’ve got your management and you’re a Steinway artist, and you’re on your way. Where’s the teaching pull? When does that start to come in, and how does that all come together for you?

Spencer Myer: It was always something I was interested in. I started teaching beginners when I was twelve. I had a paper route from age nine to twelve, and then I thought, “I could at least just advertise on my street for piano lessons and start teaching piano lessons. Why not make money doing music?” That was always something I very much enjoyed. I did that, not as actively, through college, and then it stopped in grad school. I lost all my connections to developing students, and I was more focused on playing through my graduate school. 

Then as the performing career started to develop and I would do various engagements, they would often come with a master class. So the bulk of my early higher-level teaching post grad school was master classes, which I always really enjoyed. 

I always found myself conducting a masterclass a little bit closer to a lesson than a public display. I just started to see that, certainly in particular, voicing things about developing technique, and refining technique and technical problems—solving things—came quite easily to me because, I think, I was never a prodigy. I had some natural technique, but I had to figure a lot of things out. Certainly, because a lot that I did naturally, I developed a lot of inherent tensions that I had to get rid of, and through repertoire exploration and just a lot of observation. 

Another thing I was going to mention about influences at Oberlin was the other piano faculty. I would observe their students playing. I would accompany a lot of their students on concerti, so I saw their teaching [and] so many of these different technical approaches. There’s Bob Shannon and Haewon Song who teach the Taubman technique. We had a couple Russian teachers there who have their own approach as well. I just gained a well-rounded sense of how to solve problems. And so I became, very early on in this masterclass trajectory, very addicted to those light bulb moments. Students, where you solve a technical problem and you make something easier for them, and all they want is to be able to communicate themselves more easily at the piano. It is just the best feeling. 

JS: Indeed. 

SM: Absolutely the best feeling.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Spencer Myer on Apple Podcasts, Spotify, YouTube, or our website!

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Engaging the Brain: Practice Tips from an Interview with Spencer Myer
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Piano Inspires Podcast: Frances Clark

Written By Frances Clark, Christopher Hepp

To celebrate the latest episode of the Piano Inspires Podcast featuring Frances Clark, we are sharing an excerpted transcript of her conversation with Christopher Hepp. Want to learn more about Clark? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Clark on Apple Podcasts, Spotify, YouTube, or our website!

American piano pedagogues Frances Clark and Louise Goss.
Frances Clark at the piano with Louise Goss.

Frances Clark: I do believe that music represents life, and if your life is maudlin or if it’s just doing one thing, doing page ten today and page eleven tomorrow, then there’s nothing very exciting about it. But if you have a sense of adventure, your students will have a sense of adventure. If you have a sense of drama, your students will have a sense of drama. I think the main thing really is in the children discovering for themselves that they can play beautifully. Discovering for themselves they can do anything. 

Christopher Hepp: So in Time to Begin, for example, in which its units of study are divided into discoveries and using what you’ve discovered, and the emphasis that I know you place on the sense of adventure—that all came out of the situation in the ’30s and ’40s in which you felt the materials were not providing that sense of discovery and adventure. Is that [right]?

FC: Well, I don’t think the materials do yet. I don’t think our materials do it. I think it’s the people who use them that do it. It’s the teachers. I have said many times that if I were on a far Island and the only books I had to teach were some books that I didn’t like at all, I could still teach. I could still use those books in some way. I can maneuver around. It’s the people. It’s what you’re thinking. What is your attitude? How do you feel about it? Is music an adventure for you? It’s the most contagious thing in the world, and to see children learn is the most thrilling thing to do.

CH: Can we call that a definition of teaching, perhaps? Is that who a teacher is—someone that brings a sense of adventure, a sense of discovery to a musical situation? To a piano lesson?

FC: Well, that’s certainly one of the ways. I would say a teacher creates the situation. Now, I don’t mean by the look of a room—or it’d be nice if it were pretty—and I don’t mean equipment. I mean the state of mind of that teacher. Does that teacher have time to teach? Is that student just the very student he wants to see at that moment? Is the new music he’s going to have this week going to be thrilling to both of you? You can’t teach a piece of music you don’t like. You’re undone the moment you do. It takes imagination. A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in. 

CH: And one’s life has changed.

FC: Definitely.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Frances Clark on Apple Podcasts, Spotify, YouTube, or our website!

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A Philosophy of Piano Pedagogy
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Piano Inspires Podcast: Ann DuHamel

Written By Ann DuHamel, Pamela Pike

To celebrate the latest episode of the Piano Inspires Podcast featuring Ann DuHamel, we are sharing an excerpted transcript of her conversation with Pamela Pike. Want to learn more about DuHamel? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with DuHamel on Apple Podcasts, Spotify, YouTube, or our website!

Connor Chee, Ann DuHamel, Leah Claiborne, and Sara Davis Buechner after their NCKP 2023: The Piano Conference PEDx presentations.

Ann DuHamel: Right around the time I was about to record that [Brahms and Transformation Project], there’s this explosion—what I perceive as an explosion—of news about climate change. Of course, I try to pay attention to the news and my husband is sort of a NPR junkie, so there’s news going on all the time in our house. But I just felt like what used to be an occasional news item, like once a month, twice a month, suddenly became like every week, every day, every hour, several times an hour. It just hit me! First, what I wanted to do was crawl under the covers and read Harry Potter. You know it’s like—you want to escape, because it is overwhelming, totally overwhelming.

Pamela Pike: But you didn’t. You used your music.

AD: I did. I mean, I was thinking, “What can I do?” Because I try to do things that are thoughtful about the environment. I live in a small town so I can walk to work. It takes me twenty-two minutes to walk to my office. I don’t walk when it’s -40 [degrees Fahrenheit] or when it’s icy, but I can walk to school. I walk to the grocery store; I walk to the gym; I walk to the movie theater. When I moved into my house, it was like all lawn, and every year I take out more lawn and put in more native plants. So, you know, trying to do things like that. I planted trees last year. We recycle; we compost. We do these things, but it didn’t feel like it was enough. I was thinking, “Well maybe I can do a musical program that’s music about climate change.” And this idea, like, actually, that idea gave me some hope. It gave me some courage. So this project evolved out of a feeling of despair and has become something—it actually feels, very significant to my life’s work.

PP: Oh it is! I mean, it is. It has to be. I’m glad it feels that way, because as an outsider, it certainly looks that way. And I think it speaks to the power of music. It shows how you can take something that doesn’t seem like it’s related to your professional life, but actually you can use it to change people’s minds and hearts and, hopefully, actions.

AD: That is my hope!

PP: Talk about programming a little bit. I think you’re masterful at your programming. I think too many people think, “I’m just going to program and not worry about my audience.” I don’t think you believe that.

AD: I don’t believe that. It’s really important to have works that your audience can engage with, and even if sometimes they challenge your audience, I think you want to have a balance. So, yes. When I’m programming—I mean I have many pieces in this project. Sixty—it’s going to be more than sixty because I’ve also started to commission some underrepresented composers. But thinking about, like, “How can I have a theme?” I have a program that I could do that’s all pieces related to water. I think about what narrative is happening when I do the program. “Where does it start? Where does it take people? Where does it end?” This year, I’ve been on sabbatical, and I haven’t been playing all sixty pieces when I’ve been playing because it’s like more than eight-and-a-half hours of music. I say it’s more than eight and a half. I haven’t actually counted; it’s probably like twelve. I don’t know! It’s a lot of music. So I play a recital that’s around seventy minutes of music. But some places want less, so I can—it’s very flexible. Some places, they’re like, “We can do up to two hours.” So then I do a little more. But I think about, you know, “Where does it start? How does it go? Where does it end? What’s powerful?” And I think about, like, “Where do I put the pieces that are really dissonant and challenging, and crunchy, and demanding? Then, how can I have something that follows it that is more consonant? How can I have a piece that’s beautiful, and where do I put that, and how does it have a big impact?” So, yeah, it’s—yes, I do think about that.

PP: I mean it’s critical. It’s critical for your audience’s participation—

AD: Yes, and their engagement.

PP: Exactly.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Ann DuHamel on Apple Podcasts, Spotify, YouTube, or our website!

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Book Review: Weight in the Fingertips: A Musical Odyssey from Soviet Ukraine to the World Stage by Inna Faliks
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Piano Inspires Podcast: Michelle Conda

Written By Michelle Conda, Andrea Mcalister

To celebrate the latest episode of the Piano Inspires Podcast featuring Michelle Conda, we are sharing an excerpted transcript of her conversation with Andrea. Want to learn more about Conda? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Conda on Apple Podcasts, Spotify, YouTube, or our website!

Jennifer Snow, Michelle Conda, and Samuel Holland after Conda was presented the Lifetime Achievement Award at NCKP 2023: The Piano Conference.

Andrea McAlister: Now, let’s dive back a little bit because we’re talking about, you know, this passion and the experience of making music. Was this something that you always were called to do? So when you were young and starting lessons and—did you always have that joy about making music? Was there ever a time that you thought, “oh, I don’t know if this is something that I love enough to make my profession,” or, “I don’t want to practice today?”

Michelle Conda: Oh, I go every day “I don’t want to practice today!” You know, practice is one of those things that I have a saying it’s called “Butt to the Bench.” Once you get your butt to the bench, it’s lots of fun, but there’s a lot of things that can get in the way of that. So it takes a lot—I know—a lot of discipline to do that. But, to answer the first part of your question, by age seven when I could write, my first little essay about what you’re going to do when you grow up [was]: “I’m going to be a piano teacher.” But even before that—the piano was mine. When I was like five years old, we got a piano for Christmas. Actually on one of the pictures I sent in, they show me at that age when I was a little curly haired girl. I was cute then, and—

AM: You’re cute now.

MC: But still, my piano’s in the background. My piano. My sisters were not allowed to play it. That was my piano. Then, after a year or two, I had to get my tonsils out. I did not want to get my tonsils out. I acted naughty, and finally ended up having to go home because I got a fever. But in the meantime, I made life miserable for everybody at the hospital, everyone. Well, I still had to get them out. So my mother baited me. She goes, “If you are a nice girl, you can get piano lessons.” I was the nicest girl you’ve ever seen, and I got my piano lessons and it was so great. I practiced every day. I think the things that really helped me a lot as a child [were], first of all my mother; she’s still my inspiration. She’s ninety-five, still on her own, still plays the piano.

AM: Oh, great.

MC: Oh, yeah. But she would inspire me to practice. She would just say, “I love hearing you play this.” She wouldn’t correct me ever—well, she didn’t like me chewing gum. But besides that, she didn’t correct me and music making became just a joy. Then, honestly playing for church, because when you first start playing for church—I probably was horrible. I didn’t know that; everybody said I did great. And then you just keep playing and you play for this musical and that musical—your life! Being a pianist is not a job. It’s a lifestyle. And it was my lifestyle all through high school, all through grade school.

Then I went to college my freshman year. For one brief week, I said, “I think I want to be a philosophy major.” That week went pretty fast. What happened is I got Angie Schmid, my piano teacher, who inspired me to go deep into music. I had no idea how deep you could go into music, and that was it. I finished my philosophy course and I was out. Music became the center of my life again. I—you know, you fight it your whole life kind of. If you’re a faculty member, you can get tuition remission, and I’ve looked through course catalogs before, like we all do, and say, “Oh, maybe I’ll do this, maybe I’ll—.” But when it really comes down to it, I’ve been led in this direction. The only other part of this direction I’ve been led also to is the teaching element, and I started teaching when I was very young, probably eight, nine, ten years old.

AM: That’s very young.

MC: Yeah.

AM: Who were you teaching?

MC: The neighborhood kids, everybody. Well I was already playing pretty well by ten. I just ended up teaching all the neighborhood kids. Oh, my God, I was such a horrible, horrible teacher. But luckily, they were very forgiving of my teaching and I got better. The more I got better, the more I did a better job teaching. Also, the more I became student-centered and less ‘this is what I want you to do,’ and really paid attention to how someone was learning, I got even better. Then—tell me if I bore you—but I started to teach communiversity classes. These are evening courses. I just loved teaching them. There would be a waiting list for these classes. I couldn’t understand what I was doing right. That’s why I decided to get my doctorate, because I wanted to find out what I was doing right. Thank you, and thank all the people from the University of Oklahoma—you helped me, encouraged me. When I learned how people can encourage you to do well, that also changed my teaching. Because I learned encouragement is so much better than negative talk.

AM: It’s interesting to hear you talk about the student-centered part of your teaching and how that developed. It takes some people decades to learn that that’s how students learn best, and that encouragement is how students learn best. It seems like that’s just something that you realized from an early age.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Michelle Conda on Apple Podcasts, Spotify, YouTube, or our website!

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TRIBUTES TO Frances Clark Center Lifetime Achievement Honorees Michelle Conda & George Litterst
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Piano Inspires Podcast: George Litterst

Written By George Litterst, Shana Kirk

To celebrate the latest episode of the Piano Inspires Podcast featuring George Litterst, we are sharing an excerpted transcript of his conversation with Shana Kirk. Want to learn more about Litterst? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Litterst on Apple Podcasts, Spotify, YouTube, or our website!

Sam Holland, George Litterst, and Jennifer Snow after Litterst was presented with the 2023 Frances Clark Center Lifetime Achievement Award.

Shana Kirk: As I’m listening to you today and reflecting on our history as collaborators and colleagues, a few things repeat—a few themes, if you will. So our little motifs that we find over and over in the life of George Litterst are “passionate persistence;” there is another one that you kind of alluded to a little bit earlier, which was “always asking why.” So this just incredible, deep curiosity that is childlike in so many ways. We’ve had this conversation before that, you know, we sometimes train the curiosity out of children, and it’s much better if we don’t. It’s also challenging in many ways if we don’t—but endless curiosity. And then finally, a generosity, which is what you just exhibited; generosity that is always sharing the credit, and often taking way more time and way more effort than would be expected of someone who asks you a simple question, and then you find them in a corner later still hovering over two computers! So much generosity to make sure anyone who asks a question gets it answered thoroughly, sometimes a week or two later. [laughs] But always with incredible thoroughness. What’s the future of George Litterst, and not just the future of George Litterst—how are you and your work, changing the world? I’ll say another question as well to encompass that, which is: what impact is music having on the world?

George Litterst: Okay, well, there are quite a number of questions in there. I’ll first start by saying that the basic work of enabling and assisting the community of musicians to take advantage of the technologies that we currently have is really far from over. It’s true that because of the pandemic, people had to suddenly start doing things that they didn’t do before and got out of their comfort zone, and got used to making better use of computers and things like that. But I think that their use has been still rather narrowly focused and we have a long path to go still to connect teaching to what’s actually happening when you’re playing the instrument, to the learning process. All of which is to say that the things that we’ve developed up to this point, I don’t think are yet fully exploited. So there’s a lot of work to be done just to evangelize what we have done to this point. A lot of my focus today is on an application that we have called SuperScore, which is an interactive platform for the delivery of sheet music in digital formats. It’s unique in the sense that the notation display itself is liquid—you can resize it and it gets literally re-engraved on the fly, which makes a big difference for the person that—one person needs to be able to have help discriminating between lines and spaces and they need big size. Somebody else is able to look at groups of notes and realize what the harmony is and what the horizontal patterns are, and they need to see more music at a time. So we do this at a publication quality and I think we’re the only ones currently who achieved that. Thanks, of course, to Frank Weinstock.

SK: Well, I should point out SuperScore is an iPad app.

GL: Yes, and it has interactivity directly from a MIDI capable instrument, much of those qualities you talked about with Home Concert [Xtreme]. What is driving me musically with that is my engagement with composers, arrangers, and publishers who produce the content because it’s not just the technology by itself that’s worth anything. It’s how does it fit into people’s creative lives, and it’s a vehicle for putting forward content. And not only contemporary content, but we’re using it to bring new life to works of the past and especially works that have been unjustly forgotten. One of my most interesting recent publications has been the Twelve Country Dances of Ignatius Sancho, a man who composed in the 1870s, who was born on a slave ship in the 1720s. He has a remarkable story—ends up growing up as a slave in England, finds a way to get emancipated, becomes a property owner. He’s the first person of African descent to vote in a parliamentary election and somehow, it’s not known where and how, he developed some musical skills and composed five publications of music.

SK: That element of SuperScore has been one of the most fascinating to me—just the breadth of composers, arrangers, content producers, teachers, authors, and instructional materials.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with George Litterst on Apple Podcasts, Spotify, YouTube, or our website!

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Town Hall Discussion: Technology Tips
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Piano Inspires Podcast: Olga Kern

Written By Luis Sanchez, Olga Kern

To celebrate the latest episode of the Piano Inspires Podcast featuring Olga Kern, we are sharing an excerpted transcript of her conversation with Luis Sanchez. Want to learn more about Kern? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Kern on Apple Podcasts, Spotify, YouTube, or our website!

Olga Kern performing at NCKP 2023: The Piano Conference.

Luis Sanchez: You live such an incredibly busy life with your teaching, your traveling, and your concertizing. How do you balance your life so that you can also have time to learn new repertoire or do other things?

Olga Kern: Yes, the balance is everything. I remember after winning the Van Cliburn Competition, there were so many concerts right away for me and traveling. I always wanted to do this. That was my life. I actually wanted to participate in a competition to have a possibility to perform, to be on stage. For me, that was the most important thing. Then when I got this—and you know, reading about Rachmaninoff’s life and he had 300 concerts a year—I was thinking [about] how he could even compose in between, you know, all of that incredible music and then perform at that level. Actually, traveling [those] days was not as easy as now. I was always thinking, “I want to try how it feels to have that many travels, concerts, different repertoire, orchestra performances, solo, chamber music.” It’s always different, plus the recordings, plus it’s all the time something happening.

For me, it was very challenging the first years to find the right balance. I have a very good friend—a Chinese woman [who] is really one of [my] best friends. She lives in Colorado, and she’s a piano teacher. She told me that balance is, of course, one of the most important things. Actually from her, she told me, “You really need to know when to stop, and just [breathe] between even practicing, just to find the balance of rest, and [doing] something else, and then work, and then the family; everything needs to be balanced.” To find this is very difficult, but it’s very necessary. So it took me a few years to find that balance, and I found it. Of course with the help—in my family situation—with the help of my mom because my son was very little, and without help, I couldn’t do it. My parents were always there for me, so I’m very thankful for that. Help is very important. I know that when I’m practicing, I can go for five hours non-stop. But then you [are] also tired in your mind. And then these five hours sometimes are not really productive.

Another example in Rachmaninoff’s memoirs: he was writing to one of his friends, “You know, I don’t have much time to practice because I’m traveling, I’m performing all the time. But if I have one-to-two hours a day, this productive practice is definitely better than to sit at the piano eight hours and have nothing achieved.” So I always was thinking—all of the travels I have—that actually I need to rest more, and then come to practice with the clear mind [for] two hours, but focused and working hard. And then in these two hours, you can really achieve so much more than [if] you have the whole day free. And you think, “Okay? I’m just—.” No, you really need to be focused, and you need to have [an] exact schedule in your mind, if you have that [many] things happening. My friends are always fascinated how I have everything in order, I am a very “on schedule” kind of person. I like to know what’s happening in the daytime, how much time I have, for this particular thing, for that particular thing. I like to schedule things. So I know my plan, especially on the day of the concert, or day of the travels. It’s always a different program I’m performing, and sometimes it’s a new piece. I always need to find the right balance and the right schedule for the old pieces I’m playing, for the new piece I’m working on. If I have a vacation, it’s fantastic. But usually a vacation is no more than one week. And you need to be very productive in that week. You also want to rest, it’s very important, otherwise the productivity of work is not the same. So I always try to find the time for rest, for a good time, [and] also to enjoy the theater—I love opera. So I try as much as I can on vacation to find time for this.

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OLGA KERN: A Consummate and Positive ARTIST
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Piano Inspires Podcast: Ingrid Clarfield

Written By Pamela Pike, Ingrid Jacobson Clarfield

To celebrate the latest episode of Piano Inspires Podcast featuring Ingrid Clarfield, we are sharing an excerpted transcript of her conversation with Pamela Pike. Want to learn more about Clarfield? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Clarfield on Apple Podcasts, Spotify, YouTube, or our website!

Shana Kirk, Marvin Blickenstaff, and Ingrid Clarfield at NCKP 2023: The Piano Conference.

Pamela Pike: When I was sort of first coming on the scene, if you will, when I was a young professional, you were a big star in our field, you really were. And you still are! But you know, I just—I attended so many of your sessions, and you know, it was just always a pleasure to be able to speak with you. You were always so kind to young professionals. But then it seemed like at the peak of your career you had this devastating stroke.

Ingrid Clarfield: It’s so interesting that word “devastating.” I can do it. It’s been sixteen years.

PP: But it could have been devastating!

IC: Could have been!

PP: The point is here again, you demonstrate your resilience and your persistence. So maybe talk through your recovery because it’s amazing.

IC: Well, what is interesting is that the day before, I was onstage doing a session with George Litterst on the Disklavier and I came home that night, woke up at four in the morning, and had a stroke. Still they don’t know why. But, as I tell people: I’m here, I’m alive and well. I don’t mean to minimize it. But I think for me, I was determined to go on. I did not know how I was going to and—a grad student who was helping me with stuff, I said, “Cancel everything.” I mean I was in a wheelchair drooling on drugs—very attractive. Anyway, and then I cancelled everything because I didn’t know how I was going to do anything. Then I get an email from Sigrid Luther. Do you know Sigrid?

PP: No, I don’t.

Ingrid Clarfield at NCKP 2023: The Piano Conference.

IC: Okay. Wonderful teacher in Chattanooga, Tennessee. “Oh, we’re so excited to sponsor your Ingrid Clarfield Pedagogy Workshop. We have got a grant from MTNA. I really don’t remember if it’s a phone call or an email, but probably an email. I was like, “Oh my god, we forgot somebody.” And so then I said, “Well, there’s a slight problem: I had a stroke.” “Oh!” And she was all embarrassed, and the loveliest woman anyway. No, it was an email because I needed time to think. I said, I wonder what it would be like if I said I’ll come if she plays my left hand because I knew she was a good pianist. But I first checked with Gary Ingle—good friend! I said, “How crazy would it be to say I’ll come do a conference and I’ll play with one hand? Do I charge half price?” So anyway, she agreed and I had no idea what I was doing, okay. Because she was so great and it went so well, that was how I came back. She subsequently—probably a half a dozen times—has been my left handed at MTNA conferences. Because it worked, I could continue to do it. I did not want to become a right hand pianist because there’s 8,000 pieces for left hand alone and four for right hand. But several people—like Dennis Alexander—wrote beautiful pieces for me. I wanted to do things my way, which was still me, but with somebody else. I’ve had over forty different people play my left hand in sixteen years. That was how I chose to go on. But I am convinced that it’s because of her and that it went so well that I thought, “I can do this.”

PP: It demonstrates a flexibility in your thinking, first of all, you know, that you were willing to try something different, but still be authentic to who you are.

IC: That’s—you’re really good with words. Authentic—that was it, because for me, that was important. I felt like what I do with pedagogy is important and it’s a little different—my style, to say the least. I wanted to still be me. I’ve been so lucky. And like today—like the young man you met here, he was in my pedagogy class. He was he was a student of Phyllis Lehrer and the fact that this is his first time to present like at a big conference to do this. I was really proud of him. There were certainly plenty of other people who worked with me and but I thought no, he’s helping me.

PP: Yeah, and you still have so much to contribute so there’s no reason to stop. You just have to find the alternate path forward.

IC: And find good left hands wherever I go!

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Ingrid Clarfield on Apple Podcasts, Spotify, YouTube, or our website!

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Dedication to excellence: An interview with Ingrid Clarfield
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